Super macro

- [Deke] In this chapter, we'll discussa few special techniques that fall into the categoryof advanced underwater photography.Or, if you prefer, things to tryonce you become comfortable with macro.And, we're going to start off with the macro of macro,which is super macro,in which we capture images that are larger than life size.There's the idea.And so, you may wonder what exactly is super macro.If macro describes images that are reproduced on the sensorat actual life size, one to one in other words,then super macro reproduces the imageat greater than life size.

So, it could be two to one, three to one, what have you.Super macro images are most commonly achievedby adding magnifying close-up lenses,which are commonly known to underwater photographerssimply as diopters.And, that's how you'll hear us refer to them as well.And finally, because it relies on multiple lens elements,super macro photography may require you to consideradditional optical issues,and we'll review what that means in just a moment.- [Instructor] So, let's take a closer lookat these diopters that Deke just mentioned.

So, some diopters can actually attach to the lensinside the housing, and those are less common,because you don't have the flexibilityof removing that underwater.More often, they're what we like to call wet-mate lenses,which means you can attach and remove them underwater.And, you can see examples of those here on the right.So, some of these wet-mate diopterscan also turn a non-macro lens into a macro lens.So, here we have an image of a nudibranch,and this was taken with a non-macro lens.And, that's probably why I have to tell youthat this is an image of a nudibranch,because you wouldn't be able to tell.

So again, this was taken with a non-macro lenswithout a diopter,whereas here on the right,I think you have a much better chance of figuring outthat this is a nudibranch without me telling you.So, this was taken with the exact same lens,but in this case, we've applied a diopter to the frontwhich again is going to allow that lens to focus closer,and thereby turn it into a macro lens.So, now let's talk aboutwhen we're using a dedicated macro lenswhat's going to happen when we apply a diopter.So, here again, we have a little flatworm,and this is taken at one to one.

So, this is the maximum magnification possibleon this lens without any sort of modifier.So, here on the right, we have the exact same animal,except this time we've put one of those diopters,so one of those magnifiers, in front of the lens.So, the lens is still seton its maximum magnification setting,but now we've placed this diopter in front,and you can see we've gotten a huge boost in magnification.So again, when you combine with a dedicated macro lensa diopter, it magnifies the image before it hits the lens,and that's going to allowfor greater than life size reproduction.

- [Deke] So, for those of youwho are absolutely crazy about macro photography,diopters offer you a whole new level of magnification.But, I was telling you we do have some optical issues.Namely, the diffraction dilemma.So, diopters necessarily reduce the depth of field,so you have to increase the aperture value to compensate.Problem is, light rays passing through a small aperture,which is what you get at a high aperture value,interfere with each other,which is known as diffraction.

And so, I've gone ahead and drawn up a diagramthat gives you a sense for how those light raysare jostling up against each otherwhen they hit the image sensor.And so, as a result, diffraction ends up causingminor loss of sharpness,or at least so the story goes.- [Instructor] And, I'm here to tell youabout what I call the diffraction myth.So, meanwhile, you're shooting through a medium, water,that's almost 800 times more dense than air.So, that means all that light is passing through somethingthat's 800 times more dense.

Also, sitting in front of that lens, part of the housing,we have that macro port.So, we've got one more piece of glass or possibly plasticin between that lens and the subjectthat any of that light is going to have to pass through.- [Deke] And, that port can be of variable optical quality,and also it might've gotten bumped against things,it could be scratched.And so, it's a lot more of an unknown issuethan a diopter lens.- [Instructor] So, I'm pretty sure that all of thisis causing way more softening than diffraction.So, I would say go ahead,feel good about setting that camera on f/32.

So, when you're shooting somethinglike this basket star shrimp over here,who's really really small,you really want to maximize that depth of field.So, don't even bother thinking about the diffraction,just go ahead and get that aperture as high as you canto maximize your depth of field.And, I'm going to get back on my soapbox herefor another second.We're going to talk about being aware of over-accessorizing.So, diopters are great.They're easy to add on, so it's tempting to go a bit nutsand just try to get as much magnificationas you possibly can.And, sometimes you're going to end up withwhat we like to call the Frankenrig,where you've put every accessoryyou can possibly get your hands on,and you're trying to use them all at the same time.

Well, to be honest, each additional diopter that you put onis going to cause a slight loss in sharpnessand depth of field.So, eventually you're going to reach that pointof diminishing returns where to be honestyou're better off just cropping in post.You can get cameras nowadays that have 50, 60 megapixels,and the cover of a magazine is only 12 megapixels,so you could honestly crop a fifth of your imageand still have a perfectly viable, printable imagethat's going to have much more sharpness,much better depth of field than you didby just putting four or five diopters on there.

- [Deke] So, for those of youwho are just crazy about macro,that is our introduction to the world of super macroand diopters.

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Released

5/16/2017

Capture the close-up beauty of fish, coral, and all manner of undersea wonders with this guide to underwater macro photography. In this course, Photoshop guru Deke McClelland is joined by master diver and professional underwater photographer Hergen Spalink to explore techniques, concepts, and gear involved in underwater macro photography. Deke and Hergen explain what macro is and which lenses you'll need to start shooting the sea's tiniest creatures. They also walk through exposure, key lighting, fill lighting, the strobe distance rule, composition, and post processing. Plus, they cover special techniques such as capturing natural fluorescence in underwater creatures.